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This article is a review of the book "L'Entour du texte: La publication du livre savant à la Renaissance" by Ann Blair. The book introduces Francophone readers to the use of paratexts in early modern learned books. It discusses the main forms and functions of paratexts, such as title pages, dedications, prefaces, and indexes, and explores their role in the social history of printing. The author argues that paratexts were worth controlling and had different hopes and anxieties for authors and printers. The book provides concise and reliable information about paratexts and offers methodological suggestions for studying them. [Extracted from the article]

In this study, the English translation of Kıyı Kitabı (Book of the Edge), a poetry book by Ece Temelkuran is analysed through paratexts, where the translator's and the poet's voices become obvious and a great deal about the translation in terms of both process and a product is revealed. The translator, Deniz Perin, has written a preface, which includes information about the poet, the socio-political context, and translation strategies she used including the close cooperation with the author. It is followed by an interpretation of the poems based on political and spiritual themes. Socio-political focus and gender sensitive translation decisions draw attention, which are in line with Temelkuran's articles and books. In the translation, in addition to the translator's preface, there is also a foreword formed of a poem from the poet in her native language, where the voice of the source text writer is heard apart from the translated text. This can be assumed as a cooperation, contribution and support. In the study, these issues are discussed with a sociological perspective and by tracing the voices in the paratexts the journey of two different texts, two different languages and two different authors to become "one" through translation is examined. [ABSTRACT FROM AUTHOR]

The second part of the chapter is devoted to Anglo-Saxon colophons, which show interesting communicative functions and often refer to the reader and/or to the reading activity, besides explicitly closing the text and reaffirming authorship. Compared to the previous chapter, and although it employs Genette's and Hyland's models in similar ways to other chapters, chapter 9 is even more interesting because it goes further back in time to a period in which printing was a newer, and therefore less familiar, communicative channel. The focus on book production is also interesting, since it shifts away from the authorial comments analysed in other chapters and is centred, instead, on the physical features of the book and on printing as a commercial enterprise. Part III of the volume comprises three chapters focusing on formal and material aspects of paratext. [Extracted from the article]

It would be better to place Chapter 2 (Paratexts in translation studies) at the end of this part, because it could link more naturally to the following chapter which is about a case study of paratextual analysis of translation studies. I Translation and Paratexts i by Kathryn Batchelor is a monograph newly published in 2018 discussing theoretically the interactions between translation and paratexts. Translation and paratexts [Translation theories explained]: by Kathryn Batchelor, Abingdon/New York, Routledge, 2018, xi + 214 pp., £29.99 (paperback), ISBN 9781138488977, £110.00 (hardback), ISBN 9780815349228, £26.99 (e-book), ISBN 9781351110112. [Extracted from the article]

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Key cultural texts in translation: edited by Kirsten Malmkjær, Adriana Serban and Fransiska Louwagie, Benjamins Translation Library, John Benjamins, Amsterdam and Philadelphia, 2018, xiv, 320 pp., EUR 95.00 (hardback), ISBN 978-9-02720-040-2; EUR 95.00 (e-book), ISBN 978-9-02726-436-7 Within the broader imperative of recognising the inherent interconnectedness of cultures, attention to translation as a dynamic and organic practice has been celebrated as an "antidote against essentialism" (Polezzi [1]). Anna Ponomareva's essay, which considers the text and paratexts of five translations of Pushkin's I Eugene Onegin i , highlights the translator's role as a "cultural mediator" and engagingly alludes to translation as a personal, formative journey. [Extracted from the article]

The article offers poetry criticism of the poem "Orlando Furioso" by Ludovico Ariosto. Topics discussed include striking new development in the genre of the chivalric epic; comparing a number of material and paratextual elements of the 1516 Furioso with a selection of chivalric epics printed in Italy in the decades preceding its appearance; and the plain physical appearance of Ariosto's poem and intervening between frontispiece and incipit.

The paper sets out to prompt insight into titling as a paratext. Titling is commonplace in the academia but its creative process with reference to the production/reception of the work is under-researched1, a deficiency likely to hinder the development of titology. A case in point, the novel "The Great Gatsby" has undergone several titling options before the editor and the author settled on one. Controversy has ever since animated debates amid scholarship in literature and film studies. Actually, each title magnifies one aspect of the plot, at the centre of which stands the protagonist Gatsby. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poems "Pale Fire" and "Timon of Athens" by William Shakespeare. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. The use of the pale fire passage which suggests a general pattern of thievery that fills the cosmos is explained. The relationship between text and paratext found in the contention, is also examined.

The present article focuses on the role of paratextual elements—epigram, marginal notes, and musical partitures—in Juan Benet's Un viaje de invierno (1976), with special emphasis on their role in the reading process. Gérard Genette's work on paratexts will serve as a helpful entry to my analysis of the Spaniard's novel. When conceived as the components of a liminal space that mediates text and off-text, Benet's paratexts serve to explore and enrich the zona de sombras inherent to his narrative vision. This slippage situates readers on the thresholds of interpretation and underscores the indeterminate quality of aesthetic (re-)creation. The interconnected, and often contentious, "zones" of the work engender multiple readings, vitiate chronology, and reinforce several recurring themes such as alienation, death, and rebirth. The novel brings to the fore the reader's role in negotiating the highly indeterminant components of the text and the paratext. Through this process, Benet eschews the tenets of casticismo and highlights the role of enigma central to his literary theory and praxis. [ABSTRACT FROM AUTHOR]

Pleasure Reading [ABSTRACT FROM AUTHOR]

A review of the book "Renaissance Paratexts," edited by Helen Smith and Louise Wilson is presented.

A review of the book "Show Sold Separately: Promos, Spoilers & Other Media Paratexts," by Jonathan Gray is presented.

The article reviews the book "La note d'autorité. Aperçus historiques XVI-XVIIe siècle," edited by J. Durrenmatt.

A review of the book "Paratexts in English Printed Drama to 1642," a two-volume work, edited by Thomas L. Berger and Sonia Massai, is presented.

The article reviews the book "Fairy Tales Framed: Early Forewords, Afterwords, and Critical Words," edited by Ruth B. Bottigheimer.

The article reviews the book "Paratexts: Thresholds of Interpretation" by Gérard Genette.